Dilili is an adorable, charmingly unconventional heroine: a 6-year-old Kanak girl from New Caledonia who dresses like Shirley Temple and speaks like royalty. And Paris, glittering with elegant cout…
Dilili is an adorable, charmingly unconventional heroine: a 6-year-old Kanak girl from New Caledonia who dresses like Shirley Temple and speaks like royalty. And Paris, glittering with elegant couture and a shiny new Eiffel Tower, never looked more splendid than it did around the turn of the 20th century, when’s new computer-animated feature is set.
The next time we see Dilili, she’s wearing a white dress and yellow ribbon in her hair, speaking prim and proper English to Orel , a blue-eyed delivery boy who serves as her companion-cum-accomplice-cum-chauffeur for the rest of the film. With his ice-blue eyes and slender physique, Orel is meant to be one of those androgynously beautiful young men the likes of which populate so many anime films , but instead, he looks like a crude CG rendering of the way Michael Jackson must have seen himself.
Evidently , Paris is plagued by a wave of kidnappings as young girls are snatched from the streets by a cult of nose-ring-wearing individuals who call themselves the “Male Masters.” Their misogynist plans are … insane, to say the least. But if Ocelot was determined to be revisionist, why not have Dilili fight for other feminist advances, like the right to vote or permission to “dress as men” ?
“Dilili in Paris” is by far his most ambitious film, calling for elaborate re-creations of belle époque Paree and a cast of hundreds, a great many of them inspired by famous artworks of the era . But it’s also appallingly ugly, featuring stiff, marionette-like figures against garish, badly rendered backdrops — flat photos before which which the CG puppets move, like brain-dead avatars marching through a Google Maps maze.
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